10

It may or may not be a well known secret, but if you hold down all 3 modifier keys (cnrl, option,command), then click file > bounce to QuickTime movie - you get a hidden menu that allows you to compress and bounce to many different formats!!!!! Why would they hide this? NO IDEA....


7

Personally, I stopped any activities in any way related to normalizing a long time ago. How I record sounds is how they go into my library. I don't mess with the dynamics, and I don't gain them up (unless I'm actually designing a sound for a specific use). I don't need every single sound peaking out at -.3 dBFS with an RMS of -10 dBFS. I'm never going to put ...


6

The basics are thus: "What are the specifications of the broadcaster you're delivering to?" You're asking us to distill a very complex process down into a "paint by numbers" process. If it were that easy, there'd be a manual that anyone could follow. I'm not trying to be mean by saying this, only trying to give you an idea of the scope of the question you'...


6

Great question! It's encouraging to see that sound people are still thinking outside the "plug ins" box. The concept of using outboard gear in an attempt to alter your source material is certainly worth pursuing, and what you would capture might indeed be something quite special and unique. I wholeheartedly recommend that you undertake the effort! Bear in ...


5

Even floating point numbers can clip and degrade. If I'm mixing, I prefer 64bit floats if available, but I use mostly analogue gear now .. so the mixing happens outside of the digital domain. I do have some software I wrote to automagically remix music.. the jazz-o-tron 1000. Internally it uses 80bit IEEE samples (YES, 80.. its not a typo).. but I only use ...


5

The difference between clip gain and volume automation is basically INPUT volume and OUTPUT volume. Clip gain is the input volume. This data is read and taken into account before insert effects, sends, volume automation, eft. Here are two examples : if you crank up the clip gain you could potentially clip your audio. If it Wasn't clipping while you were ...


5

http://www.mixcoach.com/common-dae-errors-and-their-causes/ Official FAQ about troubleshooting DAE Errors: http://avid.force.com/pkb/articles/en_US/FAQ/en363439


5

is ABSOLUTELY necessary to record at 48 kHz that's not for film where the final audio will be bounced to 44.1 format anyway? We know that at 44.1kHz we can accurately record and playback the frequencies that live in the human hearing threshold, so oversampling might seem an overkill. Most of the time this is the case, but some scenarios can benefit from ...


4

Answers to these questions: Zaxcom Nomad - up to 96kHz confirmed Sound Devices handheld - short answer, no. long answer, they don't want to be a "me too" company, so they would need to consider what can they bring to it that is unique. they also want to continue catering to the higher end market. if they did try to put one together, it would be a question ...


4

I highly recommend starting from distant assets. Most up to date weapons libs include some distanced material. The stereo fields tend to be richer, and the frequency rolloffs and dynamics much more naturalistic. just my 2 cents coming from a video game designer who has put distant weaponry in tons of projects.


4

I agree with @Shaun on this. I think the confidence to not normalize or alter gain comes with experience. My big a-ha came as I built my own library of ambiences: Adjusting gain in post would leave me with just as many variances in background noise and mic self-noise as my wildly varying input gain on my mic pre's in the field between outings, perhaps more....


4

Very easy and can be done in several modes/ways. if you have set a range with the range tool just hit the KC assigned to the [Navigate>Down command] (I use the arrow down key). For other editing methods you can just hit the KC for the [Locators to selection] command (P in my case), this enables you to assign your selected range to your L/R locators thus ...


4

Max/MSP's Convolution is alright and also SoundHack has some awesome Mutation and convolution processes.


4

Pro Tools is too strong of a brand name to disappear. Avid could die, but another company will buy Pro Tools. It could be better, worse, or the same as before. Yamaha bought Steinberg several years ago and I honestly don't think much has changed. Oh, and Disney bought Star Wars....


4

Creating Track Presets in Protools 10 1) Go to Applications > Avid > Pro Tools. Here, create a folder titled "Track Presets". you can also create folders within "Track Presets" for different categories (ex: Reverb, Master bus, Virtual instruments and so on) 2) Create a new track in a blank project and configure the track to your tastes (inputs, outputs, ...


4

shift scroll side to side woohoo!


4

Open the PT Shortcuts Guide PDF, then unplug the mouse and take it with you. Nothing made me faster with basic keyboard shortcuts than being 100% unable to reach for the mouse.


4

10.8 is a very polished OS but not all of its bugs have been ironed out. 10.6.8 is the last iteration of a still very mature OS that hasn't got the latest and greatest software you most likely wouldn't need. The performance of both, regarding audio, is roughly the same. However the stability of audio software that relies on older APIs (Pro Tools and Logic ...


4

It is a constraint of the OMF format and/or the video editor it came from. One of the first things I do is move them onto stereo tracks in Pro Tools. In fact I have a set of template sessions, so I will open the most appropriate template session, then import the OMF into my template onto new tracks rather than open the OMF directly in Pro Tools. Then move up ...


4

ASSUMING (and this could be a large assumption) that the Camera and Production audio have matching TimeCode and that the editor hasn't stripped it out in the AVID, you can use the Field Recorder functions of PT using match to Time Code only... You may end up with some clips that have the same timecode but it should shave hours off your workflow. Basically ...


4

It seems to me that a good choice would be a Nagra tape recorder, which was a recorder very much used starting in the 1950's until digital recording took over in the 1980's and 1990's. While this technology would be significantly better than the optical soundtrack you'd find in the 1930's, I think it would be a pretty flexible option. Since Nagras are ...


4

According to their website, you can. Your hardware should work with it. On the Hardware Options page they say: Third-party audio interfaces With Pro Tools, you get the flexibility of using the software with practically any audio interface you already have or want. For ultimate quality and performance, choose an Avid interface or bundled hardware/...


4

One very simple technique we use is to colour-code all tracks, which does make it very easy to see which are drums, for example, or guitar. By using say Red for drums, green for guitar, blue for vocals, and then shades of the primary colour for detail (eg pink for cymbal, deep red for kick drum) It doesn't reduce the number of tracks, but it groups them ...


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